This was a nine-week attachment across two stages and one exterior backlot. The remit was key art plus daily unit stills, which meant working inside a live camera department without adding a single light of our own.

On set

• Two bodies, 35mm and 85mm, no flash on stage

• Same-day selects delivered to the studio each evening

• Grade matched to the feature LUT for continuity

The frames that made the campaign were almost all rehearsal frames — the moments before the take, when the crew is still moving and the light is being tested rather than performed.